Pieter De Buysser premiered his performance and fulldome film The Tip of the Tongue at Kunstenfestivaldesarts 2017. He reprised the magic-realist tale for an entire season at the Planetarium in Brussels on every 11th of the month at eleven minutes past eight. See the very last shows to sustain this astronomical production!

Anne Teresa and Jolente De Keersmaeker and 44 young dancers take you into the woods. Put on your walking boots for this durational performance that navigates around fragments of Midsummer Night's Dream and Johannes Kepler’s astronomical novella Somnium (1608). Turn your back on the black box and let the wood and the night sky define the stage.

WORKING TITLE FESTIVAL — Do people treat plants with enough respect? What happens when plants break out of the background of our living rooms? Gosie Vervloessem calls on a number of horror movies in which plants frighten us. Sometimes they attack us head-on, but often the horror lies in ominously waving branches and rustling bushes. According to the artist the exploitative human-vegetal relation comes to a climax in the nature reserve, the plantation and the botanical garden. Places with a direct link to a colonial past.

WORKING TITLE FESTIVAL — Emi Kodama and Elias Heuninck encourage you to look at an ordinary object and explore a vast imagined landscape through its miniature world. They show that everything can become many things, as long as you allow your imagination to look beyond its current reality.

To round up TO AUTHENTICITY… AND BEYOND!, we invite performance theorist Bojana Cvejić for a final talk, followed by a conversation with Prof. Rudi Laermans. Laermans wrote the essay Be(come) yourself!, which marked the beginning of this season’s series on authenticity.

Get to know the latest generation of theatre-makers. In June, three theatre students from the RITCS will be presenting their graduation productions at the Kaaistudios. Not mine and other stories invites you to take a seat at the table. A table at which stories of a generation of twenty-somethings pass by. Young people with an opinion, who coincidently cross each other’s path in the city. Or is there more to it than coincidence?

Eleanor Bauer loves playing with the codes and concepts of contemporary dance. In New Joy, she confronts the post-truth age: this dataistic cyber-musical knocks straight through the boundaries of various registers. From body language and spoken language to computer language and back again, from emotional to artificial intelligence, from movement to sound. Along with composer Chris Peck, Bauer engages all of your senses in her search for meaning and hidden implications.

This season, Decoratelier Jozef Woutersis collaborating with Open Kunstenhuis Globe Aroma to create Underneath Which Rivers Flow. A group of women and men – builders, poets, and dreamers – meet every week at Decoratelier in Molenbeek. In this space, they build stories together, a secret garden full of wormholes to unsuspected worlds.

Rimini Protokoll had a humanoid robot created that looks exactly like playwright Thomas Melle. This lifelike mechanical doppelganger takes the place of the human original onstage. But what happens to the original when the copy takes everything over? Are the copy and the original doomed to compete with one another or will they collaborate? And do we as viewers feel as much empathy for a human as for a machine?

In the growing series Simple as ABC, Thomas Bellinck focuses on the Western migration management machine. This third instalment takes you to an imagined museum where there are only voices. You hear scraps of Arabic, English, Farsi, French, and Greek, gathered around the Mediterranean Sea. The absent narrators share their stories and thus sketch a many-voiced portrait of the contemporary hunt for humans.

The unrelenting logic of profit and technological development have reduced human beings to disposable objects. The next step is making our environment completely uninhabitable. The new production by Kris Verdonk explores our physical and psychological state of being in light of an imminent extinction. The dancers are often not more than shadows in a landscape of blow-up sculptures, cello-noise, and a robotic drum.

In her new creation, Mette Edvardsen explores interfaces with opera, flanked by composer and performer Matteo Fargion. Together, they deconstruct the mythological figure of Penelope, the woman who spent years waiting for her husband Odysseus. But her apparent passivity conceals tremendous power. Be whisked away to this intimate, minimalist dream world, where new relationships are forged between women, the world, and the other.

In this danced dialogue, Thai dancer Pichet Klunchun and Taiwanese dancer Chen Wu-kang reveal themselves to one another and to the audience. With compact portraits of pure movement, they alternately treat themes such as fatherhood, cultural heritage, and self-reliance. In the meantime, percussionist Lazara Rosell Albear adds a third voice.

On the eve of the European, federal and regional elections, The Political Party is organizing an alternative election show to offer a stage to the opinionmakers of tomorrow. Europe, access to justice, labour and precarity, ecology, democracy, decolonization, education, public health: nine young, progressive will explore these eight themes. How will we face and tackle the challenges of today and tomorrow together?

Dance and choreography leaves traces on your body, and they are often physical and concrete: growing muscles or the trauma of injuries. But the repetition and memory of movements also leave traces. The choreographies of the past continue to dwell in the dancer’s body. In the solo Body of Work, Daniel Linehan explores these traces in his own body.

‘Dance is the hidden language of the soul,’ Martha Graham once said. But what does dance mean to you? Explore personal memories with the artists’ couple deufert&plischke. By the end of the workshop, you will have written your own Letter to Dance. Everyone is welcome! Free, including an invitation to the Bal Populaire.

Six actors on the stage and only one solo. There are no leading or secondary roles, but six simultaneous interpretations of the same script. How strictly will each actor comply with the stage directions? Will they allow one another a place in the spotlight? The Script focuses on acting, ánd on the existential loneliness that you sometimes feel in a group.

For the seventh edition of the Night of Knowledge on Brussels, researchers and experts from Brussels are joining forces to draw up a polyphonic overview of the major challenges facing Brussels today and to question both citizens and politicians about possible solutions and alternatives. This rich encounter alternates between varied scientific syntheses, debates, quizzes and musical interludes.

Ivo Dimchev is one name that cannot be missed from the Performatik programme: the exuberant performer has never missed a single edition. He often depends on audience participation to create his performances, such as P-Project (shown during Performatik13) and FB Theater. This time he is returning with his brand-new selfie concert. Take out your phone… because no selfies means no concert!

If we continue to consume more language more quickly and superficially, will we still be able to use language instinctively and emotionally? PRICE is appealing to movement and music to answer this question. Along with producer Cecile Believ, pianist Sebastian Hirsig, fashion label BARRAGÁN and photographer Mirjam Graf, he will captivate you with his body and voice. You stand next to him on stage, while the soundtrack of heavenly ambient will flow to dark tribal – and back again.

Nora Turato points a selfie-cam at today’s hectic internet culture. She exposes the fears that are at the root of our society’s shortening attention span. Her monumental installation in cold, black steel suggests that our ‘totally wired’ state of mind may be far more institutionalized than we think.

Blind Spot is a quest to find what scarce traces remain of Epp Kotkas, an Estonian artist who was active in the experimental dance scene of New York in the 60s and 70s. Talve combines fact and fiction to tell the story of an artist who was totally unknown in her home country. What you witness is an essayistic memory that attempts to reconstruct an unrecorded past.